Production of Large Scale Installations
My work includes many collaborations, as well as production assistance for the creation and installation of sculptural works by Artists and Art & Design Businesses. Here are a few!
Théâtre de l’Inconnu (Mara Eagle)
Technical textile design and production of large scale inflatable sculpture (Bronwen Moen).
LA MACHINE QUI ENSEIGNAIT DES AIRS AUX OISEAUX,
Musée d’art Contemporain, Montreal QC 2020-2021
LA MACHINE QUI ENSEIGNAIT DES AIRS AUX OISEAUX,
Musée d’art Contemporain, Montreal QC 2020-2021
Mara Eagle, Théâtre de l’inconnu, 2020. Présentée dans le cadre de l’exposition La machine qui enseignait des airs aux oiseaux, du 28 novembre 2020 au 4 avril 2021, au Musée d’art contemporain de Montréal. Photo : Guy L’Heureux
In Théâtre de l’Inconnu a faltering narrator recounts the life-cycle of Saturnids, winged insects belonging the family of giant silk moths. The two-channel video installation manipulates elements borrowed from several National Geographic flower time-lapses, the 19th century opera Adriana Lecouvreur, and excerpts from various literary, scientific and ancient texts. The title of the installation gestures towards early modern scientific compendiums, such as Thomas Muffet's Theatre of Insects (1658) as well as architectures designed for viewing such as dissection amphitheaters, operating theaters, and entertainment venues for performance and cinema.
Also a venue for spectacle and observation, the gallery space is filled with an inflatable sculpture of a giant silk gland sheathed in metallic casing that doubles as seating for viewers. This extracted organ, described by the narrator (in the words of W.G. Sebald) as a “cluster of small, intertwined tubes resembling intestines,” is based on photos from current research attempts to engineer transgenic silkworms whose glands have been modified to produce human collagen for use in cosmetic products. At once tragic, satirical and monumental, the installation explores how Western practices of sight, description and representation have produced and sustained a concept of nature amenable to industrialization and exploitation.
Please contact hambonehoney@gmail.com to watch the full preview version.
Credits
Written, directed and animated by Mara Eagle
Voice by Ayam Yaldo
Special thanks to Jamie Macaulay, Ayam Yaldo, Phil Hawes, Nadia Myre, Eric Simon, Tobias Rees, Bronwen Moen & Stephen McLeod.
This work was made possible thanks to the financial generous support of the Berggruen Institute and the Conseil des arts et des lettres du Québec.
In Théâtre de l’Inconnu a faltering narrator recounts the life-cycle of Saturnids, winged insects belonging the family of giant silk moths. The two-channel video installation manipulates elements borrowed from several National Geographic flower time-lapses, the 19th century opera Adriana Lecouvreur, and excerpts from various literary, scientific and ancient texts. The title of the installation gestures towards early modern scientific compendiums, such as Thomas Muffet's Theatre of Insects (1658) as well as architectures designed for viewing such as dissection amphitheaters, operating theaters, and entertainment venues for performance and cinema.
Also a venue for spectacle and observation, the gallery space is filled with an inflatable sculpture of a giant silk gland sheathed in metallic casing that doubles as seating for viewers. This extracted organ, described by the narrator (in the words of W.G. Sebald) as a “cluster of small, intertwined tubes resembling intestines,” is based on photos from current research attempts to engineer transgenic silkworms whose glands have been modified to produce human collagen for use in cosmetic products. At once tragic, satirical and monumental, the installation explores how Western practices of sight, description and representation have produced and sustained a concept of nature amenable to industrialization and exploitation.
Please contact hambonehoney@gmail.com to watch the full preview version.
Credits
Written, directed and animated by Mara Eagle
Voice by Ayam Yaldo
Special thanks to Jamie Macaulay, Ayam Yaldo, Phil Hawes, Nadia Myre, Eric Simon, Tobias Rees, Bronwen Moen & Stephen McLeod.
This work was made possible thanks to the financial generous support of the Berggruen Institute and the Conseil des arts et des lettres du Québec.
Alexandre Castonguay Bike Wheel / KM3
An ode to freedom of expression and the place of cyclists in the city. In this participatory piece, the "AgitPOV" devices attached to the bicycles that make up the Ferris wheel transmit the words of passersby. Created during the 2012 Quebec student protests, these little boxes are tools that allow citizens to express themselves, relying on persistence of vision to broadcast political messages or poetry. Alexandre Castonguay is also responsible for the digital fresco on the Grande Bibliothèque.
To participate on-site, add a few words to the directory built up over the course of the project atagitpov.net/AgitPOV
To participate on-site, add a few words to the directory built up over the course of the project atagitpov.net/AgitPOV
Mosaika Art & Design
Mosaika is a design & manufacturing company with a fresh new take on the ancient art of mosaic making.
“We approach all of our mosaics as unique works of art, paying attention to the smallest of details so that we can position ourselves at the top of our field. We believe in constant innovation both creatively and technically. The emphasis of our company is ‘art & design’ combining a modern aesthetic with exquisite craftsmanship.”
“We approach all of our mosaics as unique works of art, paying attention to the smallest of details so that we can position ourselves at the top of our field. We believe in constant innovation both creatively and technically. The emphasis of our company is ‘art & design’ combining a modern aesthetic with exquisite craftsmanship.”
FRAGILE. A monumental work by Roadsworth.
Montreal’s Eaton Centre
Designed and produced in collaboration with Brian Armstrong, FRAGILE represents an ecosystem composed, among others things, of 20,000 plastic bottles, 500 aluminum cans, bubble wrap, thousands of hangers, paper cups, and hundreds of square meters of cardboard. All of these recycled materials, collected by the artists over eight months, come from Eaton Center merchants and visitors.
According to Roadsworth, FRAGILE as an artistic statement “is not a re-creation of nature but a facsimile thereof… whose beauty lies not in how successfully it portrays the natural world but the degree to which the attempt to do so falls short…the elements that make up this installation are reassembled into a clumsy semblance of their original forms, a poignant reminder of both the fragility and irrevocable loss of a natural and original state.”
(CASCOM June 2011)
According to Roadsworth, FRAGILE as an artistic statement “is not a re-creation of nature but a facsimile thereof… whose beauty lies not in how successfully it portrays the natural world but the degree to which the attempt to do so falls short…the elements that make up this installation are reassembled into a clumsy semblance of their original forms, a poignant reminder of both the fragility and irrevocable loss of a natural and original state.”
(CASCOM June 2011)
